text:
{{Ficha de unidad militar
|nombre= Cohors I Celtiberorum
|imagen=
|pie imagen=
|fechas= Desde finales  hasta finales .
|país=  Imperio romano
|fidelidad=
|rama=
|tipo= Cohors quinquagenaria peditata
|función= Infantería de asalto
|especialización=
|tamaño= Variable. Aprox. 480. 6 centurias de 80 soldados dirigidas por sendos centuriones a las órdenes de un Praefectus cohortis' ecuestre.
|estructura mando=
|acuartelamiento= Mediomanum, Britania
|equipo=
|comandante_actual=
|jefe_ceremonial=
|coronel_del_regimiento=
|comandantes_notables=
|símbolo= vexillum o estandarte
|etiqueta_símbolo=
|símbolo2= C(ohors) I C(eltiberorum) F(ecit)|etiqueta_símbolo2= Figlina
|mote= Celtiberorum|patrón=
|lema=
|colores=
|marcha=
|mascota=
|batallas=
|aniversarios=
|condecoraciones=
|honores batalla=
}}
La Cohors I Celtiberorum fue una unidad de infantería auxiliar del ejército romano del tipo Cohors quinquagenaria peditata, atestiguada a lo largo del  y diferente de la Cohors I Celtiberorum Equitata civium romanorum.

m Historia
Fue reclutada a finales del  en la provincia Hispania Citerior Tarraconensis, alistando, originariamente, a miembros del pueblo prerromano de los celtíberos, cuyo nombre tomó la unidad.

Fue destinada a Britannia, donde esta atestiguada a comienzos del , acuartelada en Mediomanum (Caersws, Gales, Reino Unido), donde aparecen tegulae selladas con la figlina CICF, es decir, C(ohors) I C(eltiberorum) F(ecit).

Varios diplomae militaris atestiguan su estancia en Britannia bajo Trajano, en 105, Adriano en 122 y 127, y Antonino Pío en 146 y 158.

La unidad debió colaborar en la construcción del Muro de Adriano y del Muro de Antonino Pío, y debió ser destruida a finales del , cuando se incrementó la presión de los pictos sobre el norte de Britannia.

 Fuentes primarias

 CIL VIII, 1243

 CIL XVI, 51, Sydenham, Gran Bretaña: Imp(erator) [C]aesar [divi Nervae f(ilius) Nerva Traianus]/ Augustus Germa[nic(us) Dacicus pontif(ex) maximus]/ tribunic(ia) pot[estat(e) VIIII imp(erator) IIII co(n)s(ul) V p(ater) p(atriae)]/ equitibus et p[editibus qui militant in]/ alis duabus e[t cohortibus decem et una quae]/ appellantur [I Tungrorum et Classiana]/ c(ivium) R(omanorum) et I Celt[iberorum et I Hispanorum et I]/ Lingonu[m et I Fida Vardullorum et I Fri]/siavonum [et I Nerviorum et II Vascon]/um c(ivium) R(omanorum) et I[I --- et II Asturum et II?]/ Pannonio[rum et II? Delmatarum et sunt]/ in Brittan[nia sub --- qui]/ qu< i = E >na et vi[cena plurave stipendia merue]/runt quor[um nomina subscripta sunt]/ ipsis liber[is posterisque eorum]// [civitatem dedit et co]nubium/ [cum uxoribus quas tunc hab]uissent/ [cum est civitas iis data aut si qui ca]elibes es[sent/ cum iis quas postea duxissent du]mtaxat [singuli singulas/ a(nte) d(iem)] III [---/ C(aio) Iulio] B[asso Cn(aeo) Afranio] D[extro co(n)s(ulibus)/ cohort(is) ---]num c[ui prae(e)st ---/ ---]rioni [---]nis [f(ilio) ---/ descriptum et recognitum // Imp(erator) Caesar divi Nervae f(ilius) Nerva Traianu[s]/ Augustus Germanic(us) Dacicus pontif(ex) max[i]/mus tribunic(ia) potestat(e) VIIII imp(erator) IIII co(n)s(ul) V p(ater) [p(atriae)]/ equitibus et peditibus qui militant in a/lis duabus et cohortibus decem et una qu/ae appellantur I Tungrorum et Classi/ana c(ivium) R(omanorum) et I Celtiberorum et I Hispano/rum et I Lingonum et I Fida Vardullo/rum et I Frisiavonu[m] et I Nerviorum/ et II Vasconu[m c(ivium) R(omanorum) et ---]um e[t/ II A]sturum et [II? Pannoniorum et II?/ Del]mata[rum et sunt in Britannia

 CIL XVI, 69, Komorn, Hungría: Imp(erator) Caesar divi Traiani Parthici f(ilius) divi Nervae nepos / Traianus Hadrianus Augustus pontifex maximus / tribunicia potestate VI co(n)s(ul) III proco(n)s(ul) / equitibus et peditibus qui militaverunt in alis decem et tribus et / cohortibus tr(i)gint(a) et septe(m) qua(e) appel(l)antur I Pannonioru(m) / Sabinian(a) et I Panno(nio)rum Tampian(a) et I Hispanorum Asturu(m) / et I Tungroru(m) et II Asturum et Gallorum Picentian(a) et Gall(o)/rum et Thracum clas(s)ian(a) civiu(m) Romanor(um) Seb(o)siana / et Vettonum Hispanorum civium Romanor(um) et Agrippi(a)n(a) M(i)/niata et Augusta Gal(l)oru(m) et Augus(ta) Vocontioru(m) civiu(m) Ro/manorum et I Frisiavonum et I Vangionum milliaria et I / Celtib<e=I>rorum et I Thracum et I Afrorum civium Romanoru(m) et / I Nervia Germanor(um) mil(l)iaria et I (H)amionu(m!) sagittaria e(t) / I Delmataru(m) et I Aquitanor(um) et I Ulpia Traian(a) Cugern(orum) / civium Romanoru(m) et I Morinorum et I Menapiorum et I / Sunucorum et I Betasioru(m) et I Batavor(um) et I Tungro(rum) / et I Hispanoru(m) et II Gallorum et II Basconum(!) civium / Romanorum et II Thracum e(t) II Lingonum et II Asturum et II / Delmatarum et II Nerviorum et III Bracarorum et III Lingon(um) / et IV Gal(l)orum et IV Lingonum et IV Breucorum et IV Delma/tarum et V Raetorum et V Gallorum et VI Nerviorum et / VII Thracum quae sunt in Brittannia sub A(ulo) Platorio Nepo/te quinque et viginti stipendiis emeritis dimissis / honesta missione per Pompeium Falcone(m) quorum // nomina subscripta sunt ipsis liberis posterisqu(e) / eorum civitatem ded(it) et conubiu(m) cum uxoribu(s) qua(s) / tun(c) habuissen(t) cum est civita(s) iis dat(a) aut si qui caelib(es) / essent cum iis quas postea duxissent dumtaxa(t) singuli(s) / singulas a(nte) d(iem) XVI K(alendas) Aug(ustas) / Ti(berio) Iulio Capitone / L(ucio) Vitrasio Flaminino co(n)s(ulibus) / ala(e) I Pannoniorum Tampiana(e) cui prae(e)st / Fabius Sabinus / ex sesquiplic{i}ario / Gemello Breuci f(ilio) Pannon(io) // Imp(erator) Caesar divi Traiani Parthici f(ilius) divi Nervae nepos Tra/ianus Hadrianus Augustus pontifex maximus tribu/nic(ia) potestat(e) VI co(n)s(ul) III proco(n)s(ul) / equitib(us) et peditib(us) qui militaverunt in alis decem et trib(us) et coh(or)/tib(us) triginta et septem quae appellantur I Pannonior(um) Sabinian(a) / et I Pannon(iorum) Tampian(a) et I Hispan(orum) Astur(um) et I Tungror(um) et II Astur(um) / et Gallor(um) Picentiana et Gallor(um) et Thrac(um) classiana c(ivium) R(omanorum) et Gallor(um) / Petriana |(milliaria) c(ivium) R(omanorum) et Gallor(um) Sebosiana et Vetton(um) Hispan(orum) c(ivium) R(omanorum) et / Agrippiana Miniata et Aug(usta) Gallor(um) et Aug(usta) Vocontior(um) c(ivium) R(omanorum) et I / Nervia German(orum) |(milliaria) et I Celtiberor(um) et I Thrac(um) et I Afror(um) c(ivium) R(omanorum) et I / Lingon(um) et I fida Vardullor(um) |(milliaria) c(ivium) R(omanorum) et I Frisiavon(um) et I Vangion(um) / |(milliaria) et I Hamior(um) sagitt(aria) et I Delmat(arum) et I Aquitan(orum) et I Ulpia Traia/na Cugern(orum) c(ivium) R(omanorum) et I Morin(orum) et I Menapior(um) et I Sunucor(um) et I B(a)eta/sior(um) et I Batavor(um) et I Tungror(um) et I Hispan(orum) et II Gallor(um) et II / Vascon(um) c(ivium) R(omanorum) et II Thrac(um) et II Lingon(um) et II Astur(um) et II Delmatar(um) / et II Nervior(um) et III Nervior(um) et III Bracaror(um) et III Lingon(um) / et IIII Gallor(um) et IIII Breucor(um) et IIII Delmatar(um) et V Raetor(um) / et V Gallor(um) et VI Nervior(um) et VII Thrac(um) quae sunt in Britan/nia sub A(ulo) Platorio Nepote quinque et viginti stipendi(i)s / emeritis dimissis honesta missione per Pompeium / Falconem quorum nomina subscripta sunt ipsis libe/ris posterisq(ue) eorum civitatem dedit et conub(ium) cum uxo/rib(us) quas tunc habuissent cum est civitas iis data / aut si qui caelibes essent cum iis quas postea duxis/sent dumtaxat singulis singulas a(nte) d(iem) XVI K(alendas) Aug(ustas) / Ti(berio) Iulio Capitone L(ucio) Vitrasio Flaminino co(n)s(ulibus) / alae I Pannonior(um) Tampianae cui prae(e)st / Fabius Sabinus / ex sesquiplicario / Gemello Breuci f(ilio) Pannon(io) / descriptum et recognitum ex tabula aenea quae fixa est / Romae in muro post templum divi Aug(usti) ad Minervam // Ti(beri) Claudi Menandri / A(uli) Fulvi Iusti / Ti(beri) Iuli Urbani / L(uci) Pulli Daphni / L(uci) Noni Victoris / Q(uinti) Lolli Festi / L(uci) Pulli Anthi

 CIL XVI, 93, Chesters, Gran Bretaña: [Imp(erator) Caesar div]i Had[riani f(ilius) divi Traiani Parthici nepos divi Nervae pr]on(epos) T(itus) A[elius Hadrianus An]to[ninus Aug(ustus)] Pius [pon(tifex) max(imus) trib(unicia) pot(estate) XVIII] imp(erator) [II co(n)]s(ul) IIII [p(ater) p(atriae)] / eq(uitibus) et ped(itibus) [qui militaver(unt) in alis III et cohort(ibus) XI quae appell(antur) Aug(usta)] / Gal(lorum) Proc(uleiana) et I [3 et I Hisp(anorum) Astur(um) et I] / C< e = L >ltib(erorum) et I Hisp(anorum) et [I Aelia Dacor(um) et I Aelia classica] / et I Fid(a) et II Gal(lorum) e[t II et VI Nerv(iorum) et III] / Brac(araugustanorum) et IIII Ling(onum) [et IIII Gal(lorum) et sunt in] / Brittan(nia) sub Papir[io Aeliano quinque et viginti stipendi(i)s] / emer(itis) dim(issis) hon(esta) mis(sione) [quor(um) nom(ina) subscr(ipta)] / sunt c(ivitatem) R(omanam) qui eoru[m non haber(ent) ded(it) et] / conub(ium) cum uxor(ibus) [quas tunc habuis(sent)] / cum est civ(itas) iis d[ata aut si qui caelibes essent cum i(i)s quas postea duxissent dumtaxat singuli singulas // [Imp(erator) C]aesar divi Hadriani f(ilius) divi / [Traian]i Part(hici) nepos divi Nervae pro/[nepos T(itus) Ae]lius Hadrianus Antoninus / [Aug(ustus) Pius] pon(tifex) max(imus) tr(ibunicia) pot(estate) XVIII imp(erator) II co(n)s(ul) IIII p(ater) p(atriae) / [equit(ibus) et p]edit(ibus) qui militaver(unt) in alis III / [et cohort(ibus) XI qu]ae appell(antur) Aug(usta) Gall(orum) Proc(uleiana) et I / [3] et I Hisp(anorum) Astur(um) et I Celtib(erorum) / [et I Hisp(anorum) et I] Ae<l=T>ia Dacor(um) et I Aelia / classica [et I Fid(a) V]ard(ullorum) et II Gall(orum) et II et] / VI Nerv(iorum) e[t III Bra]c(araugustanorum) et IIII Ling(onum) et IIII Gall(orum) / et sunt in B[ritta]n(n)ia sub Papirio Aelia/no quinqu[e et vigi]nti [s]tipend(i)is emerit(is) dimis(sis) honest(a) mis(sione) quor(um) nom(ina) subscr(ipta) sunt

 AE 1997, 1001, Ravenglass, Gran Bretaña: [Imp(erator) Caesar divi Hadriani f(ilius) divi Traiani Part(hici) nepos divi Nervae pron(epos)/ T(itus) Aelius Hadrianus Antoninus Aug(ustus) Pi]us pon(tifex)/ [max(imus) trib(unicia) pot(estate) XXI imp(erator) II c]o(n)s(ul) IV p(ater) p(atriae)/ [equit(ibus) et pedit(ibus) qui mili]t(averunt) in alis IV/ [quae appel(lantur) Aug(usta) Gall(orum) Pro]culeiana et I Tungr(orum)/ [et I Hisp(anorum) Ast(urum) et Sebos(iana)] < C = G >al< l = I >(orum) et coh(ortibus) XVII/ [III Brac(arorum) Aug(ustanorum) et V G]al< l = I >(orum) et II Ling(onum) et I Ael(ia)/ [Dacor(um) et I Delm(atarum)] e< t = I > < I = T> Ael(ia) class(ica) e< t = I> I Ha/[m(iorum) et II Gall(orum) e]t < I = L > Celtiber(orum) e<t = L> IV Ling(onum)/ [et I Frisiav]on(um) et I Au<g = G>(usta) Ner(viana) Germ(anorum) oo(milliaria) et/ [IV Gall(orum) et] VII Thrac(um) e< t = I > < I = L > Vang(ionum) e< t = I > I Va[rd]/[ullo]r(um) oo(milliaria) e<t = I> I Thrac(um) et sunt in Britann(ia/ sub Iulio Vero le< g = C >(ato) quin(is) et vicen(is) plu/rib(us)ve stip(endiis) emerit(is) dimiss(is) honesta/ mission(e) quor(um) nomin(a) subscripta/ sunt civitat(em) Roman(am) qui eor(um) non h[a]/ber(ent) ded(it) et conub(ium) [c]um uxorib(us) quas t[u(nc)]/ habuiss(ent) cum e[s]t civit(as) iis dat(a) aut cu[m]/ iis quas postea duxiss(ent) dumtax(at) sin/gulis a(nte) d(iem) III K(alendas) Mar(tias)/ Sex(to) Sulpicio Tertullo/ Q(uinto) Tineio Sacerdote co(n)s(ulibus)/ [c]ohort(is) Ael(iae) class(icae) cui praeest/ Caedicius Severus/ ex equite/ [---] Cassi f(ilius) H< e = L>li[op(oli)/ descript(um) et] reco<g = C>nit(um) ex tabula/ [aerea quae fixa est R]om(ae)/ in mur(o) post te[mpl(um)/ divi A]ug(usti) ad Minerv[am]// [M(arci) Servili Getae]/ [L(uci) Pulli] Ch[resimi/ M(arci) Sentili] I[asi/ Ti(beri) Iuli] Felic[is/ C(ai) Belli] Urba[ni/ C(ai) Pomponi] Stati[ani/ P(ubli) Ocili Prisci]// [Imp(erator) Caesar divi Had]riani f(ilius) [d]ivi [Traiani/ Part(hici) nepos divi N]ervae pronep(os) T(itus) Aelius/ Hadrianus A]ntoninus Aug(ustus) Piu[s pont(ifex)/ max(imus) trib(unicia) pot(estate) X]XI imp(erator) II co(n)s(ul) IV [p(ater) p(atriae)/ equit(ibus) et pedit(ibus) q]u[i] mil(itaverunt) in al(is) IV quae ap[pel(lantur)/ Aug(usta) Gall(orum) Procul(eiana) et] I Tungr(orum) et I Hisp(anorum) A[st(urum)/ et Sebos(iana) Gall(orum) et c]oh(ortibus) XVII III Brac(ar)aug(ustanorum) [et/ V Gall(orum) et II Ling(onum) et] I Ae[l(ia) D]acor(um) et I Delm(atarum)/ [et I Ael(ia) class(ica) et] I Ham(iorum) et II Gall(orum) et I Celt(iberorum)/ [et IV Li]ng(onum) et I Fr[is]iav(onum) et I Aug(usta) Ner(viana) Germ(anorum) oo(milliaria)/ [et IV Ga]ll(orum) <e = L>t VII Th[r(acum) e]t I Vang(ionum) et I Vardul(lorum)/ [oo(milliaria) et I Th]rac(um) et sunt in Britan(nia) sub Iulio/ [Vero l]e[g(ato)] XXV pl(uribus)ve [stipe]nd(iis) emer(itis) dimiss(is)/ [hon(esta)] mi[ss(ione)] qu[or(um)] n[omi]n(a) subs[crip]t(a) sunt civ(itatem)/ [Rom(anam)] qui e[or(um)] non haber(ent) ded(it) et c[on]ub(ium) [c]um/ [u]xorib(us) quas tunc habuis(sent) [c]um [est civit(as)]/ [iis d]a[t(a) a]u[t cu]m i(i)[s] quas post[ea] dux[iss(ent) dum(taxat) sing(ulis)]// [A(nte) d(iem) III K(alendas) Mar(tias)]/ [Tertullo et Sacerd]ote c[o(n)s(ulibus)/ cohort(is) I Ael(iae) class(icae)] cui pra[eest/ Caedicius Severus/ ex equite/ --- Cassi] f(ilio) H<el = II>[iop(oli)/ descript(um) et re]cognit(um) <e = I>x t[abula aerea quae/ fixa est] Rom(ae) in mur(o) [post templ(um)/ divi A]ug(usti) ad M[inervam]

 AE 1997, 1779, locus incertus: [Imp(erator) Caesar di]vi Traiani Parthici f(ilius) divi Nervae / [nepos Traian]us Hadrianus Aug(ustus) pont(ifex) max(imus) trib(unicia) / [pot(estate)] XI co(n)s(ul) III / [eq(uitibus) et ped(itibus) qu(i)] mil(itaverunt) in al(is) VIII et coh(ortibus) XXVII qu(ae) app(ellantur) Aug(usta) / Gall(orum) Pro(culeiana) et A]ug(usta) Voc(ontiorum) c(ivium) R(omanorum) et I Pan(noniorum) Sab(iniana) et Gall(orum) Seb(osiana) et / [3 II] Ast(urum) et Gall(orum) Petr(iana) |(millitaria) c(ivium) R(omanorum) et I Hisp(anorum) Ast(urum) / [3 I Ner(via) Ge]rm(anorum) |(milliaria) et I Celt(iberorum) et I Thr(acum) et I Hispanorum) et I / [3] et I Sunu(corum) et I Ham(iorum) sag(ittaria) et I Aq(uitanorum) et I / [Fris(iavonum?) et I Tung]r(orum) |(milliaria) et I Ael(ia) Dac(orum) |(milliaria) et II Gall(orum) / [et II Pann(oniorum) et II Ast(urum) et I]I Del(matarum) et (II) Ner(viorum) et II Lin(gonum) et III / [Ner(viorum) et III Brac(ar)aug(ustanorum) et III]I Gall(orum) et III(I) Lin(gonum) et IIII Bre(ucorum) / et V Gall(orum) et VI Nerv(iorum) et VII] Thr(acum) et sunt in Britt(annia) / [sub Trebio G]erman[o qu]in(is) et vic(enis) plur(ibusve) stip(endiis) em(eritis)/ [dim(issis) hon(esta) mi]ss(ione) quor(um) [nomin(a) s]ubscr(ipta) sunt ips(is) lib(eris) / [post(erisque) eor(um) civ(itatem) d]ed(it) et con(ubium) [cum uxor(ibus)] quas tunc hab(uissent) / [cum est civ(itas) ii]s dat(a) aut si q(ui) ca]el(ibes) ess(ent) cum iis quas / [postea duxiss(ent) dum[tax(at) [singuli sing]ulas // ] /[e]t I Ham(iorum) sag(ittaria) e[t I Aq(uitanorum et 3 et I Fris(iavonum?) et I] / Tung(rorum) |(milliaria) et I Ael(ia) D[ac(orum) |(milliaria) et II Gall(orum) et II Pann(oniorum)] / et II Ast(urum) et (II) Delm(atarum) et (II) Ner(viorum) [et II Lin(gonum)] et III Ling(onum) et III / Brac(ar)aug(ustanorum) et III Gall(orum) et I[III Lin(gonum) et I]III Bre(ucorum) et V / Gall(orum) et VI Nerv(iorum) et VII Thr(acum) [et sunt i]n Brittan(nia) / sub Trebio Germano quin(is) [et vicen(is) pl]uri[b(us)ve stip(endiis)] / emer(itis) dimiss(is) hon(esta) miss(ione) quor[um) nomina sub]/script(a) sunt ipsis liber(is) posteris[que eorum] / civitat(em) dedit et conub(ium) cum uxorib(us) q[uas tunc] hab(uissent) cum est civit(as) ii]s data aut si qui caelib(es) [es]/sent cum iis quas postea duxiss(ent) dumtax(at) sin/guli singuals a(nte) d(iem) XIII K(alendas) Sept(embres) / Q(uinto) Tineio Rufo / M(arco) Licinio Celere Nepote co(n)s(ulibus) / coh(ortis) II Lingon(um) cui prae(e)st / C(aius) Hedius Verus Pitino Merg(ente) / ex pedite / Itaxae Stamillae f(ilio) Daco / descript(um) et recognit(um) ex tabula aenea quae fi/xa est Romae in muro post templ(um) divi Aug(usti) / ad Minervam

 AE 2004, 1902, locus incertus: [Imp(erator) Caesar divi Antonini fil(ius) d]ivi Veri Parthici m[aximi frater divi Hadriani n]epos divi Traiani Pa[rthici pronepos divi Nervae a]bnepos M(arcus) Aurelius [Antoninus Aug(ustus) Germanicus] Sarmaticus ponti[fex maximus tribunic(ia) potest(ate) XX]XII imp(erator) VIIII co(n)s(ul) III p(ater) p(atriae) et [Imp(erator) L(ucius) Aelius Aurelius Commod]us Aug(ustus) Antonini [Aug(usti) fil(ius) divi Pii nepos divi Hadriani pro]nepos divi [Traiani Parthici abnepos divi Nerva]e adnepos [Germanicus, Sarmatic(us) tribunic(ia) potest(ate) III imp(erator) II] co(n)s(ul) p(ater) p(atriae) [equitibus et peditibus qui militaverunt] in alis V [quae appellantur Gallorum et Thracum classiana et Augusta Voc]ontior[um et I Pannoniorum Sabiniana et Sebosiana Gallorum et Vettonum Hispanorum et cohortibus XVI I Augusta Nerviorum et I Frisiavonum et I Aelia Hispanorum et I fida Vardullorum et I Celtiberorum et III Lingonum et I Hispanorum et I Thracum et I Batavorum et II Gallorum veterana et II Thracum veterana et II Lingonum et IIII Gallorum et I] Van[gionum et VII Thracum et I Morinorum et sunt] in Br[itannia sub Ulpio Marcello leg(ato) quinis et vicenis plu]ribus[ve stipendiis emeritis dimissis honesta missione] quorum [nomina subscripta sunt civitatem Romanam qui] eorum n[on haberent dederunt et conubium cum uxo]ribus quas t[unc habuissent cum est civitas iis data aut] cum iis quas [postea duxissent dumtaxat singulis

 AE 2006, 1837, locus incertus: [Imp(erator) Caesar divi Antonini f(ilius) divi Veri Parthici maximi frater divi Hadriani nepos divi Traiani Parthici pronepos divi Nervae abnepos M(arcus) Aurelius Antoninus Aug(ustus) Germanicus Sarmaticus pontifex maximus tribunic(ia) potest(ate) XXXII imp(erator) VIIII co(n)s(ul) III p(ater) p(atriae) et Imp(erator) Caesar L(ucius) Aelius Aurelius Commodus Aug(ustus) Antonini Augusti fil(ius) divi Pii nepos divi Hadriani pronepos divi Traiani Parthici abnepos divi Neruae adnepos Germanicus Sarmaticus tribunic(ia) potest(ate) III imp(erator) II co(n)s(ul) p(ater) p(atriae) equitibus et peditibus qui militaverunt in alis V quae appellantur Gallor(um) et Thrac(um) classian(a) et Aug(usta) Vocontior(um) et I Pannonior(um) Sabinian(a)] et [Sebosian(a) Gallor(um) et Vetton(um) Hispanor(um) et cohortibus] XVI [I Aug(usta) Nerv(iana) et I Frisiavon(um) et I Aelia Hispanor(um)] et I fida Var[dullor(um) et I Celtiber(orum) et III Lin]gon(um) et II Hi[spanor(um) et I Thrac(um) et I Batavor(um) et II Gal]lor(um) veter(ana) et [II Thrac(um) veter(ana) et II Lingon(um) et IIII] Gallor(um) et I V[angion(um) et VII Thrac(um) et I Morinor(um) et sunt in Britannia sub Ulpio Marcello leg(ato) quinis et vicenis pluribusve stipendiis emeritis dimissis honesta missione // quorum] nom[ina subscripta sunt civitatem Romanam qui eoru]m non h[aberent dederunt et conubium cum uxoribus] quas tu[nc habuissent cum est civitas iis data aut cum iis] q[u]as pos[tea duxissent dumtaxat singuli singulas a(nte) d(iem) X Kal(endas) Apr(iles) Ser(vio) Scipione Orfito D(ecimo) Velio Rufo co(n)s(ulibus)

 AE 2007, 1768, locus incertus: [Imp(erator) Caesar d]ivi Traiani Part[hici f(ilius) divi Nervae nepos Traianu]s Hadrianus Aug(ustus) [pont(ifex) max(imus) trib(unicia) pot(estate)] XI c[o(n)s(ul) III eq(uitibus) et ped(itibus) qu]i mil(itaverunt) in al(is) VIII e[t // coh(ortibus) XXVII qu(ae) app(ellantur) Aug(usta) Gall(orum) Proc(uleiana) et Aug(usta) Voc(ontiorum) c(ivium) R(omanorum) et I Pan(noniorum) Sab(iniana) et Gall(orum) Seb(osiana) et 3 II Ast(urum) et Gall(orum) Petr(iana) |(milliaria) c(ivium) R(omanorum) et I His(panorum) Ast(urum) 3 et I Ner(via) Germ(anorum) |milliaria) et I Celt(iberorum) et I Thr(acum) et] / Hisp(anorum) et I Fid(a) [Var(dullorum) et 3 I Sunu(corum) et I Ham(iorum)] / sag(ittaria) et I Aqui[tan(orum) 3 I Tungr(orum) oo(milliaria)] / et I Ael(ia) Dac(orum) |(milliaria) [et II Gall(orum) et II Pann(oniorum) et II Ast(urum) et II Delm(atarum)] / et (!) Nerv(iorum) et II L[in(gonum) et III Ling(onum) et III Brac(ar)aug(ustanorum) et IIII Gal]/lor(um) et IIII Lin(gonum) [et IIII Breuc(orum) et V Gall(orum) et VI Nerv(iorum) et] / VII Thr(acum) et [sunt in Brittann(ia) sub Trebio Germano] / quin(is) et vicen(is) [plur(ibusve) stip(endiis) emer(itis) dimiss(is) hon(esta)] / missio(ne) [quor(um) nomina subscript(a) sunt

 AE 2077, 1770, locus incertus: [Imp(erator) Caesar divi Antonini filio divi Veri Parthici maxim(i) frater divi Hadriani nepos divi Traiani Parthici pronepos divi Nervae abnepos M(arcus) Aurelius Antoninus Aug(ustus) Germanicus Sarmatic(us) pontif(ex) max(imus) trib(unicia) potest(ate) XXXII imp(erator) VIIII co(n)s(ul) III p(ater) p(atriae) et Imp(erator) Caesar L(ucius) Aelius Aurelius Commodus Aug(ustus) Antonin(i) Aug(usti) fil(ius) divi Pii nepos divi Hadriani pronepos divi Traiani Parthici abnepos divi Nervae adnepos Germanicus Sarmaticus tribunic(ia) potest(ate) III imp(erator) II co(n)s(ul) p(ater) p(atriae) equitibus et peditibus qui militaverunt in alis V quae appellantur Gallor(um) et Thrac(um) classian(a) et Aug(usta) Vocontior(um) et I Pannonior(um) Sabinian(a) et Sebosian(a) Gallor(um) et Vetton(um) Hispanor(um) et cohortibus XVI I Aug(usta) Nerv(iana) et I Frisiavon(um) et I Aelia Hispanor(um) et I Fida Vardul(l)or(um) et I Celtiber(orum) et III Lingon(um) et II Hispanor(um) et I Thrac(um) et I Batavor(um) et II Gallor(um)] veter(ana) et [II Thrac(um) veter(ana) et II Lingon(um) et IIII Gallor(um) et I] / [Vangi]on(um) et VII Thr[ac(um) et I Morinor(um) et sunt in] / [Britt]annia sub Ulp[io Marcello leg(ato)] / quin[is et vic]enis pluribusve stipen[diis eme]/riti[s dimiss]is honesta mission(e) quor[um no]/mina subsc[r]ipta sunt civitatem Romana[m qui] / eorum non haberent dederunt et conub[ium] / cum uxoribus quas tunc habuissent cum e[st ci]/vitas iis data aut cum iis quas postea duxisse[nt] / dumtaxat singulis a(nte) d(iem) X Kal(endas) Apr{o)il(es) / Sero Scipione Orfito D(ecimo) Velio Rufo co(n)[s(ulibus)] / [coh]ort(is) I Aelia Hispanor(um) cui prae[est] / Claudius Gratilianus / ex equitibus / Ta[u]risio Titi fil(io) Daco / descriptum et recognitum ex tabula a(e)rea [quae] / fixa est Romae in muro pos(t) templum divi Aug(usti) [ad] / Minervam

 RMD 3, 184 = RMD 5, 704, Thracia: Imp(erator) Caesa(r) divi Antonini f(ilius) divi Veri Parthici ma/x<i=A>mi frater divi Hadriani nepo(s) divi Traian(i) Pa/rthici pronepo(s) divi Nervae abnepos M(arcus) Aurelius / Antoninus Aug(ustus) Germanicus Sarmaticus pon/tifex maximus tr[i]bunic(ia) potest(ate) XXXII imp(erator) VIII co(n)s(ul) p(ater) (!) / Imp(erator) Caesar L(ucius) Aelius Aurelius Commodus Aug(ustus) Anton(i)/ni Aug(usti) f(ilius) divi Pii nepos divi Hadrian(i) pronep(os) / divi Traiani Parthici abnepo(s) divi Nervae (a)d< ne = RI >/pos Germanicus Sarmaticus trib(unicia) potes(tate) III imp(erator) / II co(n)s(ul) p(ater) p(atriae) / equitibus et peditibus qui militaverunt in / alis V quae appellantur Gallor(um) et Thrac(um) / Classian(a) et Aug(usta) Vocontior(um) et I Pannonior(um) Sa/binian(a) et Sebosion(a) Gallor(um) et Vetton(um) Hispano(rum) et / cohortibus XVI I Aug(usta) Nerv(iorum) et I Frisiavon(um) et I Aelia / Hispanor(um) [et I] fida Vardullor(um) et I Celtiber(orum) et III / Lingon(um) e[t I] Hispanor(um) et I Thrac(um) et I Batavor(um) et / II Gallor(um) [v]eter(ana) et II Thrac(um) veter(ana) et II Lingon(um) et / IIII Gall[or(um) e]t I Vang< i = L >o(num) et VII Thrac(um) et I Morino(rum) et / sunt in Br[ita]nnia sub Ulpio Marcello leg(ato) quinis / et vicen[is pluribu]sve stipendi(i)s emeritis dimis/sis hones[ta mis]sione quorum nomina subscript(a) / sunt civit[atem R]omanam qui eorum non habere(n)t d(e)/(de)run(t) et co[nubium c]um uxorib(us) quas tunc habuissent / cum est c[ivitas] i(i)s dat(a) a]ut cum i(i)s quas postea duxis/sent dum[taxat] singulis a(nte) d(iem) X Kal(endas) April{l}(es) / Ser(vio) Scipione Orfito / D(ecimo) Velio Rufo / co(n)s(ulibus) / coh(ortis) VII Thrac(um) cui praeest / Ulpius Marcianus / ex equite / Thiopo Rolae fil(io) Daco / descript(um) et recognit(um) ex tabu(l)a aere(a) / qu(a)e fixa est Rom(ae) in mu(ro) post t(emplum) divi Aug(usti) ad (sic) // C(ai) Belli Urbani / L(uci) Senti Chrysogoni / Ti(beri) Iuli Crescentis / L(uci) Pulli Marcionis / S(exti) Vibi Romani / C(ai) Publici Luperci / M(arci) Iuni Pii // Imp(erator) Caesa[r) divi Antonini f(ilius) divi Veri Parthici maximi frater] / divi Had[riani nepos divi Traiani Parthici pronepos divi] / Nerv[ae abnepos M(arcus) Aurelius Antoninus Aug(ustus) Germanicus S]/ar[maticus

 RMD 4, 293, locus incertus:  Imp(erator) Caes(ar) [d]ivi [A]ntonini fil(ius) [d]ivi [Veri Parth]ici maximi frater / divi [H]a[dri]ani [n]epos [divi Traian(i) Parthici pronepo(s) divi] / Ne(r)va[e ab]nepos M(arcus) Aureli[us Antoninus Aug(ustus) Germanicus Sarma]/ti(cus) ponti(fex) max(imus) trib(unicia) pot(estate) XXXII i[mp(erator) VI]II co(n)s(ul) III [3] / Imp(erator) Caes(ar) L(ucius) Aeliu(s) Aureliu[s Com]m[odu]s Aug(ustus) [Antonini Aug(usti) f(ilius)] / divi [P]ii nepos divi [H]adrian(i) pronep(os) divi T[raiani Parthici] / [abnepo(s) divi Nervae adnepos Germanicus Sarmaticus trib(unicia) potes(tate) III] imp(erator) II co(n)s(ul) p(ater) p(atriae) / equitibus et peditibus qui militaverunt in al(is) V quae ap/pellantu[r G]allor(um) et Thrac(um) Clas(s)ian(a) et Au(gusta) Vocontio(rum) / et I Pannon(iorum) [S]abinian(a) et Sebosian(a) Gallo(rum) et Vett(onum) / Hispano(rum) et cohorti(bus) XVI I Aug(usta) Ner(viorum) et I Frisiavo(num) et / I Aelia Hispano(rum) et I fida Vardull(orum) et I Celtiber(orum) et III / Lingon(um) et II Hispan(orum) I et Thr(acum) et I Batavor(um) [et II Gal]/lor(um) vet(erana) et II Thrac(um) veter(ana) et II Lingon(um) et III[I Ga]ll[or(um)] / et I Vangion(um) et VII Thrac(um) et I Morin[o(rum)] et sun[t] in [Bri]/tannia sub Ulpi(o) Marc(e)ll(o) leg(ato) quin(i)s et vicenis plur(i)/busve stipendi(is) emerit(is) dimiss[i]s honesta mis(s)/ione quoru(m) nomina subscript(a) sunt civitate(m) / Rom[anam] qui [eorum non ha]berent de[derunt et] / con[ub]iu(m) cum uxori(bus) quas tunc habuis[s]ent cum / es(t) civitas iis da(ta) au(t) cum iis quas post(ea) duxis/se(n)t dumtaxat singulis // A(nte) d(iem) X Kal(endas) April(es) / Orfito et Rufo co(n)s(ulibus) / coh(ortis) II Gallor(um) veter(anae) {um} cui praeest / Domitius Hiero / ex equite / Thiae Timarchi f(ilio) / Daco / descriptum et recognitum [ex] tabula aere(a) qua(e) / est Romae in muro pos(t) templum divi Aug(usti) ad / Minervam // Imp(erator) Caesar divi Antonini fili< u = O >(s) divi Veri Parthici maxim(i) fra/ter divi Hadriani nepos divi Traiani Parthici pronepos / divi Nervae abnepos M(arcus) Aurelius Antoninus Aug(ustus) German/(i)cus Sarmatic(us) pontif(ex) max(imus) trib(unicia) potest(ate) XXXII imp(erator) VIII co(n)s(ul) III p(ater) p(atriae) et / Imp(erator) Caesar L(ucius) Aelius Aurelius Commodus Aug(ustus) Antonin(i) Aug(usti) fil(ius) / divi Pii nepos divi Hadriani pronepos divi Traiani Parthi/ci abnepos divi Nervae adnepos Germanicus Sarmaticus / tribunic(ia) potest(ate) III imp(erator) II co(n)s(ul) p(ater) p(atriae) / equitibus et peditibus qui militaverunt in alis V quae app/ellantur Gallor(um) et Thrac(um) Classian(a) et Aug(usta) Vocontior(um) et I / Pannonior(um) Sabinian(a) et Sebosian(a) Gallor(um) et Vetton(um) His/panor(um) et cohortibus XVI I Aug(usta) Nerv(iorum) et I Frisiavon(um) et I / Aelia Hispanor(um) et I fida Vardul(l)or(um) et I Celtiber(orum) et III / Lingon(um) et II Hispanor(um) I et Thrac(um) et I Batavor(um) et II Gallor(um) / vet(erana) et II Thrac(um) veter(ana) et II Lingon(um) et IIII Gallor(um) et / I Vangion(um) et VII Thrac(um) et I Morinor(um) et sunt in Britta/n(n)ia sub Ulpio Marcello leg(ato) quinis et vicenis pluribus/ve stipendi(i)s emeritis dimissis honesta missione quo/rum nomina subscripta sunt civitatem Romanam qui e/orum non haberent dederunt et conubium cum uxo/ribus quas tunc habuissent cum est civitas iis data / aut cum iis quas post(ea) duxissent dumtaxat singulis / a(nte) d(iem) X Kal(endas) April(es) Ser(vio) Scipione / Orfito et D(ecimo) Velio Rufo co(n)s(ulibus) / coh(ortis) II Gallor(um) veter(anae) cui praeest / Domitius Hiero / ex equite / Thiae Timarchi f(ilio) Daco / descriptum et recognitum ex tabula aerea qu/ae fixa est Romae in muro pos(t) templum divi Aug(usti) / ad Minervam // C(ai) Belli Urbani / L(uci) Senti Chrysogoni / Ti(beri) Iuli Crescentis / L(uci) Pulli Marcionis / S(exti) Vibi Romani / C(ai) Publici Luperci / M(arci) Iuni Pii

 RMD 4, 294, locus incertus: Imp(erator) Cae(sar) div(i) Antoni(ni) fil(ius) divi Veri Parthi(ci) max(imi) frat(er) divi / Hadria(n)i ne(pos) divi Traiani Parth(ici) {a} pr(on)e(pos) div(i) Nerv(ae) a< b = D >ne(pos) / M(arcus) Aure(li)us {a} Antonin(us) Aug(ustus) Ger(manicus) Sarma(ticus) pont(ifex) maxim(us) / tri(bunicia) pot(estate) XXXIII imp(erator) VIIII co(n)s(ul) III p(ater patriae) et / Imp(erator) Cae(sar) L(ucius) Aeli(us) Aureli(us) Commodu(s) Aug(ustus) Antoni(ni) Aug(usti) fi(lius) divi / Pii nep(os) divi Hadriani pron(epos) d(i)vi Tr(a)iani Parth(ici) abnep(os) di(vi) / Nerv(a)e a< d = B >n(epos) < G = C >erm(anicus) Sar[m(aticus)] tri(bunicia) po(testate) III imp(erator) II co(n)s(ul) p(ater patriae)/ equitib(us) et peditib(us) qui militaverunt in al(is) V quae appellant(ur) / Gallo(rum) et Thrac(um) Clas(s)ia(n)a et Aug(usta) Vocontior(um) et I Pannon(i)o< r = N >(um) Sabin(iana) / et Sebos(iona) Gallo(rum) et Vet(t)on(um) His(panorum) et co(ho)rtib(us) < XV = A >I I Aug(usta) N(e)rv(iorum) / et I < F = I >risiavo(num) et I Ae(lia) Hi(s)p(anorum) et I fida Vardull(orum) et I Ce(l)tib(erorum) et III Ling(onum) / et II His(panorum) et I Thr(acum) et I Batavo(rum) et II Gallo(rum) vet(erana) II Thra(cum) vet(erana) et / II Lingo(num) et IIII Gallo(rum) et I Vangi(onum) et VII Thra(cum) et I Mo(r)inor(um) et / sunt in Britan(ni)a sub Ulpi(o) Marce(llo) leg(ato) VXX (sic) pluri(busve) / stip(endiis) e{s}me(r)i(t)is dim(issi)s hon(e)st(a) mis(s)ion(e) (q)uorum nom(ina) / subsc(r)ipta sun(t) civitate(m) Romanam qu(i) eor(um) non hab[er(ent)] / dederunt et conub(i)u(m) cum uxorib(us) quas tun(c) habuissen(t) / cum < e = I >st civita(s) iis dat(a) aut cum i(i)s quas po(s)te(a) duxiss(ent) / dumtax(a)t singulis // Imp(erator) Cae(sar) divi Antoni(ni) fil(ius) divi Veri Parthi(ci) max(imi) frat(er) divi H/(a)drian(i) nep(os) divi Traian(i) Pa(r)thici prone(pos) divi Nervae abn(epos) / M(arcus) Aureli(us) Antonin(us) Aug(ustus) Germ(anicus) Sar(maticus) pont(ifex) maxi(mus) tr(ibunicia) / pot(estate) XXXIII imp(erator) VIIII co(n)s(ul) III p(ater) p(atriae) et / Imp(erator) Cae(sar) L(ucius) Aeli(us) Aureli(us) Commodu(s) Aug(ustus) Anton(i)ni Aug(usti) fil(ius) / divi Pi(i) nep(os) div(i) Hadria(ni) pro(nepos) divi Traian(i) Parthi(ci) a< d = B >/ne(pos) divi Nerv(a)e adne(pos) Ger(manicus) Sar(maticus) tri(bunicia) pot(estate) III imp(erator) II co(n)s(ul) p(ater) p(atriae) / equitib(us) et peditib(us) qui militaverunt in al(is) V quae appel/lantu(r) Gal(l)o(rum) et Thra(cum) Clas(s)ian(a) et Aug(usta) Vocontio(rum) et (!) Pan/no(ni)o(rum) Sabi(niana) et Sebosi(ona) Gal(l)or(um) et Vetto(num) {et} < His = ISH >(panorum) et cohort(ibus) / XVI I Aug(usta) Nerv(iorum) et I Frisiav(onum) et I Ael(ia) Hisp(anorum) et I fida Vardul(l)o(rum) / et I Celti(berorum) et II(I) Lingo(num) et II Hisp(anorum) e(t) (sic) Thrac(um) et I (B)atavor(um) et II / Gallor(um) (v)et(erana) et II Thr(acum) vet(erana) et II < L = I >(in)< g = C >o(num) et IIII Gal(l)o(rum) et (sic) Vangi(onum) / et VII Thrac(um) et I < M = S >o(r)ino(rum) et sunt in Brittannia (sic) (s)ub Ul/pio Marcel(l)o leg(ato) VXX (sic) plurib(usve) stipen(diis) emeri< t = L >i(s) / mis(s)is honest(a) missione quorum nomin(a) subscript(a) / sunt civitatem Romana(m) qui eoru(m) non habere(nt) de/derunt et conubiu(m) cum uxorib(us) quas tu(n)c habuis/sen(t) cum est civita(s) iis dat(a) aut cum i(i)s quas poste(a) du/xissen(t) dumtaxat singulis a(nte) d(iem) X K(alendas) Apr(iles) / Ser(vio) Scipione Orfito / D(ecimo) Velio Rufo co(n)s(ulibus) / cohort(is) I Aug(ustae) Nerv(ianae) cui praeest / Annius Victor / ex equite / Sisceo Aptasae fil(io) Daco / descript(um) et recognit(um) ex tabul(a) aer(ea) / qu(a)e fixa est R< o = E >m(a)e in mur(o) post templ(um) / divi Aug(usti) ad Minervam

 RMD 5, 450, Nimega, Países Bajos:-------- trib(unicia) pot[estate ---/ equitib(us) et] pediti[b(us) qui militaverunt in alis --- quae appell(antur) --------/ ----- Aug(usta) Gall(orum)] Proc(uleiana?) et [------/ --- Ast]ur(um?) < e = I >[t // ] / Tun]gr(orum) e[t -------/ ----- ve]x(illatio) et VI [-----/ -----L]ing(onum) et I A[-----/ ----- I H]amior(um) e[t -----/ ----- L]ing(onum) et I [------/ ----- et I Ce]lt(iberorum?) et [-------

 ZPE 174-189, locus incertus'': Imp(erator) Caesar divi Traiani Parthici f(ilius) divi Ner/vae nepos Traianus Hadrianus Aug(ustus) pont(ifex) / max(imus) trib(unicia) potest(ate) XVI co(n)s(ul) III p(ater) p(atriae) proco(n)s(ul) / equitib(us) et peditib(us) qui militaver(unt) in alis tri/bus et coh(ortibus) XII quae appell(antur) I Aug(usta) Gallor(um) Pro/cul(eiana) et Aug(usta) Vocont(iorum) et Vetton(um) Hisp(anorum) et I Aug(usta) Nerv(iana) / German(orum) |(milliaria) et I Celtib(erorum) et I Thr(acum) et I Ling(onum) et I Ha/mior(um) sag(ittariorum) et I Morin(orum) et I Sunuc(orum) et I et II Dalm(atarum) / et III Brac(araugustanorum) et IIII et V Gallor(um) et sunt in Britan/nia sub Iulio Severo quinq(ue) et vigint(i) sti/pend(iis) emeritis dimiss(is) honest(a) missione / quorum nomin(a) subscript(a) sunt ipsis li/ber(is) posterisq(ue) eorum civitat(em) dedit et / conub(ium) cum uxorib(us) quas tunc ha/buissent cum est civitas iis data aut si / qui caelib(es) essent cum iis quas postea du/xiss(ent) dumtaxat singuli singulas / a(nte) d(iem) V Id(us) Dec(embres) / C(aio) Acilio Prisco A(ulo) Cassio Arriano co(n)s(ulibus) / coh(ortis) I Hamior(um) sagitt(aria) cui prae(e)st / M(arcus) Mussius Conc< e = L >ssus / ex pedite / Longino Sesti < f = E >(ilio) MOMS / et Longino < f = L >(ilio) eius et Sestio f(ilio) eius / et Sestiae fil(iae) eius / descriptum et recognitum ex tabula ae/nea quae fixa est Romae in muro post / templum divi Aug(usti) ad Minervam // Ti(beri) Claudi Menandri / P(ubli) Atti Severi / T(iti) Flavi Romuli / L(uci) Pulli Daphni / P(ubli) Atti Festi / C(ai) Iuli Silvani / C(ai) Vettieni Hermetis // Imp(erator) Caesar divi Traiani Parthici f(ilius) divi Nerv(ae) / nep(os) Traianus Hadrianus Aug(ustus) pont(ifex) max(imus) / trib(unicia) pot(estate) XVI co(n)s(ul) III p(ater) p(atriae) proco(n)s(ul) / eq(uitibus) et ped(itibus) qui mil(itaverunt) in al(is) III et coh(ortibus) XII quae / app(ellantur) I Aug(usta) Gall(orum) Proc(uleiana) et Aug(usta) Voc(ontiorum) et Vett(onum) Hisp(anorum) et I / Aug(usta) Nerv(iana) Germ(anorum) |(milliaria) et I Ce< l = T >t(iberorum) et I Thr(acum) et I < L = S >ing(onum) / et I Ham(iorum) sag(ittariorum) et I Mor(inorum) et I Sun(ucorum) et I et II Dalm(atarum) et / III Brac(araugustanorum) et IIII et V Gall(orum) et sunt in Brit(annia) sub / < I = L >ulio Severo quinq(ue) et vig(inti) stip(endiis) em(eritis) dim(issis) / hon(esta) miss(ione) quor(um) nom(ina) subscr(ipta) sunt ips(is) lib(eris) / post(erisque) eor(um) civ(itatem) ded(it) et con(ubium) cum ux(oribus) quas tunc / hab(uissent) cum est civ(itas) iis data aut si q(ui) cael(ibes) ess(ent) / cum iis quas poste(a) dux(issent) dumtax(at) sing(uli) sin/gulas / a(nte) d(iem) V < I = L >d(us) Dec(embres) / C(aio) Acilio Prisco A(ulo) Cassio Arriano co(n)s(ulibus) / coh(ortis) I Hamior(um) sag(ittaria) cui prae(e)st / M(arcus) Mussius Concessus / ex pedite / Longino Sesti (!) MOMS / et Longino f(ilio) eius / et Sestio f(ilio) eius / et Sestiae fil(iae) eius

Enlaces externos
 Datos sobre esta unidad. En inglés

Celtiberorum
Ejército romano en Hispania

redpajama_set_name: RedPajamaWikipedia


In professional sports it's not unusual for commentators to refer to highly-skilled athletes who are stellar in multiple roles as a triple threat. The same can be said of artists and others in the creative arena. Take Sarah Leavens, for example, who earned her MFA in Poetry & Creative Nonfiction as a fellowship winner and her BFA in Oil Painting. In 2012-2013, she was selected as the Out of the Forge Writer-in-Residence in Braddock, Pennsylvania.
To her talents in and passion for visual arts and creative writing, add teaching. With a background in public arts initiatives and outreach, Sarah currently teaches visual art and writing at the Pittsburgh Center for the Arts, and is a part-time instructor in the English Department at the University of Pittsburgh (Pitt).
Among her other accomplishments: Sarah's work has appeared in several literary journals, and she has exhibited her original visual works of art steadily since 2004. She is also the recipient of several awards, residencies and other fellowships for writing, and was recently nominated for a Pushcart Prize.
Blast Furnace caught up recently with the prolific artist/writer/teacher at a coffee shop near Pitt to discuss one of her passions: book making. Following is our interview with Sarah, along with photographs of some of her original hand-made books courtesy of the artist.
How did you become interested in book making? Did you create other types of artwork before?
I was always doing writing or art in equal parts. I've tried to balance those two interests since I was little, and then all through high school. My last semester as an undergrad—which was five years for me pursuing a Bachelor of Fine Arts in painting and a Bachelor of Arts in Writing—I had an [extracurricular] class and chose book making. The University of Georgia's art school offered a travel-abroad art focus and I enrolled in it as a kind of independent study. It was the perfect marriage of my interests, the perfect way to work with my hands and by far my favorite class. I was obsessive about it, too, and had an incredible instructor, Shanna Leino. She was really inspiring and used beautiful paper and leather to make books. In class [which was in Cortona, Italy], we learned to make our own paper and dry it on the line. It was romantic, in a romantic place, and I was completely hooked. I didn't merge the first book that I made with writing, and didn't explore making a book as a piece of writing until three or four years later. My soundtrack while I was there was Led Zeppelin's House of the Holy, ('The Rain Song,' 'Over the Hills and Far Away'), which just happened to be the music on the computer I used at the school's tiny computer lab. 'Houses of the Holy' also became the title of my lyric essay, which I made into a book.
What was your project theme?
I was super into the lyric essay, and wove lyrics from those songs, but particularly 'The Song Remains the Same,' and a few biblical things, and also wove through it a sense of space and holy spaces. There was a holy energy everywhere there, a [tangible] sense of time in that place. I could walk the real Roman road there. The hilltop village of Cortona was surrounded by an Etruscan wall made of stone that was first built around 600 B.C. [I had] an art history project to research the churches of the town. The whole town existed according to the location of the sun. High Catholicism had a large presence there, too. St. Francis of Assisi lived for a time in a nearby monastery, Le Celle. There was lots of interplay between the natural and holy world. Each town [in Italy] has a patron saint, so there is a presence of a holy aspect [for that reason]. They actually display the saint's bodies above ground there, most of the time in glass cases.
At the same time, I was doing lots of sketching in a journal and painting projects defined by the class syllabus, in addition to writing an essay about holy and mystical spaces.
I learned how to make a wood book using an African form of binding known as Coptic, and created a book as my final project using European hardwood. For the paper, I gathered sticks, leaves and nuts from the hillsides, made dyes, and dyed the paper. For the inside covers I carved out an altar space and made smaller books to fit inside of it.
The [end result] was a larger book that came about four years later. An alter book made to fit specifically the 'Houses of the Holy' essay. I made a wooden book in Cortona and smaller books I made fit inside it. It was all based on the idea of preserving the holy, and I used vellum overlays on pages to keep the precious preserved.
What are some of the specific steps involved for you in creating these books?
First, establish the purpose of the book, which then determines the form or structure, which then often dictates the materials to use, what the cover and insides are going to be: hard/soft; thick/little; thin/large. And will there be any extras, like pockets? And what will be on the cover? What will I use for the text block (the paper that fills the book)?
Once all of that is planned or started, then Independently I sew the bindings. I decide whether to hide the binding, or show it, because some are ornamental. My default is the softcover journal with a long-stich spine.
Talk about your work with the Pittsburgh Center for the Arts.
What inspires you to create your art? Do you find the inspiration for each of your artistic interests often occurs simultaneously?
It can be specific locations. Music. Stress! Diverting stress through creative projects. I find that I almost never have free time anymore to create. Sometimes, I'm inspired from seeing other people's work. Like Anne Carson, an incredible writer of densely lyrical pieces and intensely lyrical novels and a Greek scholar. She created the book, 'Nox,' which means "night" in Latin. The pages of her book come out in an accordion.
I still have not figured out how to balance it all. Painting. Visual art. Writing.
Talk about any of your current book-making projects.
I agreed to sell hand-made journals that are blank inside to a local bookstore. The covers are from reclaimed leather from the Pittsburgh Center for Creative Reuse [in Point Breeze]. I used to go to Goodwill for old leather [coats] that I would cut apart. The insides are lined with decorative paper; some are graph paper and some are blank pages.
Additionally, some of the books I made are on display in the bookstore but aren't for sale.


How to get cheap bus tickets from Salt Lake City to Fontana?
Tufesa offer a total of 2 bus schedules from Salt Lake City to Fontana.
Bus booking in advance is the best way to find Fontana cheap tickets.
How much is bus ticket from Salt Lake City to Fontana?
As mentioned before, you will find on Tufesa to Fontana low-cost tickets for only USD 100.00.
This bus leaves at 11:00 from Salt Lake City bus station or stop at Salt Lake Indoor Swapmeet.
On the contrary, the bus leaving at 11:00 have the most expensive ticket to Fontana for about USD 100.00.
How to get to Fontana from Salt Lake City?
On average you find 2 daily schedules to Fontana from Salt Lake City.
Tufesa bus lines operate the largest daily fleet to Fontana.
Where are Salt Lake City and Fontana bus stations?
For this trip to Fontana, you can get on board at Salt Lake Indoor Swapmeet.
Moreover, get off the bus at 16803 Valley Blvd.
When is the first and last bus to Fontana?
The first bus time to Fontana is at 11:00.
How far apart is Fontana from Salt Lake City?
The bus traveling length from Salt Lake City to Fontana is around 13h 45m.
Selecting this company, you probably arrive in about 11h 45m in Fontana.


Praying for you and your family.. And me. Your words both help my faith and hurt my heart.
I have come to believe that the best Christians are those who are, or have been, agnostic in some way. We can't know it all, and when we presume to have all the answers, what have we become? Faith isn't a destination, but a journey. I can't imagine how the pain of war affects people who are sensitive to suffering, as a priest should be, when the pain of war so sorely affects those thought to be the hardest of men.


Automated meter reading is coming to Boerne. The City of Boerne has been piloting an automated meter reading system over the past year and is now in the process of deploying city-wide.
The deployment strategy is broken down into four phases represented by their various colors in the map to the right.
The Tantalus system uses electric meters to create a local area network that listens for transmissions from water and gas meters. Signals are sent to City Hall where meter readings are accumulated for customer billing.
The Tantalus system can detect water leaks, meter tampering, and voltage sags and swells, as well as power outages.
For more information, contact Utilities Billing at 830-249-9511.


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Chief Inspector Barnaby mysteries by Caroline Graham

<time datetime='2017-09-29T00:00:00Z' itemprop="datePublished">September 29, 2017</time> • Donna MacLeod

About the book

Author: Graham, Caroline, 1931-

Title: The killings at Badger’s Drift
Publication: London : Headline Book Publishing, 1989. ISBN 9780755342150.
DAISY audio format narrated by Hugh Ross. CELA library call number DA31505. 264 pages in the paper edition; 8 hrs., 26 mins. as a recorded book.

Title: A ghost in the machine.
Publication: London : Headline, 2004. ISBN 0755307704.
DAISY audio format narrated by Terri Cherniak. CELA library call number DA26166. 375 pages in the paper edition; 19 hrs., 30 mins. as a recorded book.

About the story

You have probably seen the Midsomer Murders show on TV (TV Ontario has been running it in segments for decades) or on a streaming service like Netflix. They are pretty long, and not a lot happens until the end. It’s mainly character-driven with ongoing interpersonal plotlines among the principle characters, and a murder is done every show. By the end, the “bad guy” (or gal) has been apprehended, and lessons have been learnt all ‘round.

Unsurprisingly, the books on which the series is based are pretty similar. The back-story is clearer in the books, though, and the characters are more fully developed. I can see a lot more in the TV show now that I have read the books. Subtle. The second one, in particular, is quite long to listen to. Interesting, but long.

CELA has not digitised too many of her books, only two of them (number 2, A ghost in the machine, in English and in French translation) and number 4, Written in blood (DA31506). The Toronto Public Library has the first one, The killings at Badger’s Drift, as well as the two that CELA has.

If you have not seen the show, Inspector Barnaby lives in a small village in the fictitious English countryside of Midsomer, where he and an ambitious, conceited, n’er-do-well Sergent solve a series of improbable murders in picturesque settings. Village characters abound, each a less likely suspect than the last until at last Barnaby reveals whodunit. The humour is dry and the pints are legion. Makes me long for good English Real Ale, sadly lacking on this side of the pond.

In Badger’s Drift, an eccentric old lady insists on the investigation of the sudden, unexpected death of her best friend, a spinster living in the village of Badger’s Drift. It turns out the deceased saw something she should never have seen…

In Ghost, Dennis Brinkely, a beloved resident of the tiny hamlet of Forbes Abbot, is found slain amidst his horrifying collection of medieval torture devices. The only witness, Benny Fraye, is unreliable in many respects. The supernatural is consulted (albeit not by the constabulary) and the waters are muddied. If you like a good, convoluted plot, Ghost is for you.

Recommended?

I like them, they are long and involved and pretty easy-listening. I watch the TV series sometimes, but put a few weeks between them so they don’t get tiresome.

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This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License by Donna MacLeod.

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I have been training since 1980. Started out with Ju Jitsu and Wado Ryu Karate 3rd Dan. Been training FMA(Pekiti Tirsia). The last 10 years my focus has been on practical self defence. I have been working as a Police officer the last 10 years here in Norway. I am certified as a "Hard Skills Instructor" under Dennis Martin's CQB Services. I have also been involved in teaching Police and Military personnel in combatives/defensive tactics in Norway. I am currently living on the west coast of Norway.


Ageing is a life spanning process of growth and development from Birth to death. Old age is an integral part of the whole, bringing fulfilment and self actualization. Ageing, along with the functional decline, economic dependence, and social cut off, autonomy of young generation, adds to depression, which further compromises their quality of life. The study was undertaken to correlate the level of depression and quality of life among 95 elderly selected through systematic random sampling technique, in a rural community of Amritsar, Punjab. Tools used were Geriatric Depression Scale and WHO QOL-BREF scale. The obtained data was analysed and interpreted using descriptive and inferential statistics. The major findings of the study reveal that that 81(89.5%) of elderly had mild depression and only 4(4.2%) were severe depressed. Present study reveals that majority 92(96.8%) had good quality of life and only 3(3.2%) had average quality of life. In domain wise quality of life, in environment domain majority of elderly 87(91.6%) had good quality of life. Present study shows that the correlation between depression and quality of life depicts that there is correlation between depression and environment wellbeing domain with r value 0.297.
Depression, Quality of life, Rural, Elderly.
Manpreet Kaur, Sukhpreet Kaur, Rajwant Kaur. Correlation of Depression and Quality of life among rural elderly. Int. J. Adv. Nur. Management. 2016; 4(4): 323-326.


Daily Natural Vitamins are a great way to ensure you reach your recommended daily allowance of essential vitamins to maintain human health … Order now and enjoy.
First, it's not routinely tested by most physicians. Second, the low end of the laboratory reference range is too low. This is why most studies underestimate true levels of deficiency. Many B12 deficient people have so-called "normal" levels of B12. Deficiency is far more common than most practitioners and the general public realize like pernicious anemia, weakness, loss of appetite memory, Focus cognitive decline, decreased mobility, etc., Older people are at higher risk of a vitamin B12 deficiency, too, because your body has a harder time absorbing the vitamin as you age. Supplements can overcome deficiency symptoms and 100% recoverable in many cases, if caught in time.
Vitamin health supplements and nutrients to take, they need to not only consider health conditions, but they need to consider their age and their gender. People at certain age groups need to take different levels of vitamins and needs of women will be very different from a man's needs. Before anyone begins a vitamin and mineral regimen, it's important for them to consult with their doctor to make sure that they are getting what they need on the one hand.
Sufficient supply of a bio-available form of a vitamin B12 as Methylcobalamin with folic acid is even more necessary. Methylcobalamin is the most potent form of Vitamin B12 found in nature. We need methylcobalamin for the healthy development and sustenance of our circulatory, immune and nervous systems. Folic acid (also known as vitamin B9) is very important for the development of a healthy foetus, as it can significantly reduce the risk of neural tube defects; it helps the body make healthy new cells. Everyone needs folic acid. For women who may get pregnant, it is really important.


text:
WSU Vancouver historian traces Indian Ocean slave saga
Sue Peabody
Sue Peabody, Meyer Distinguished Professor of Liberal Arts and History at Washington State University Vancouver, has published the first full-length biography tracing slavery in the Indian Ocean region. "Madeleine's Children: Family, Freedom, Secrets, and Lies in France's Indian Ocean Colonies" was published by Oxford University Press. It is her seventh book.
A detailed family saga set against the broader context of South Asian slavery, plantation life, Parisian society and French colonization, "Madeleine's Children" traces the multigenerational biography of a slave family and the legal battles pursued by Madeleine's son Furcy—a slave who fought for his freedom in court for 25 years and finally won. It uncovers intimate relationships and legal disputes between slaves and free people in the Indian Ocean that have been hidden for two centuries.
Peabody is one of the world's leading authorities on slavery in the French Empire. The research took her to France, England and the Indian Ocean islands of La Reunion and Mauritius. One reviewer calls the work "both biography and global history at their very best."
"Drawing on thousands of pages of archival and legal documents to reconstruct [the subjects'] lives with astonishing detail, Peabody presents us with the first biographical narrative of slaves held by French citizens and in the process illuminates the internal architectures of slavery and freedom in France's Indian Ocean colonies," said another reviewer, Pier M. Larson of Johns Hopkins University.
WSU Vancouver

redpajama_set_name: RedPajamaCommonCrawl


text:
"La La Land" Is A Trivial Ode To Its Movie Musical Ancestors
An hour into his glib movie musical "La La Land," writer-director Damien Chazelle diverts a couple of lines of dialogue to dismiss potential critics of his movie as anti-nostalgia zealots. "Fuck 'em!" cries Ryan Gosling's navel-gazing jazzman Seb (short for Sebastian) in reference to his own detractors. But the exclamation is clearly intended for viewers who might not be buying what Chazelle is selling. For sale: a nouveau Hollywood musical in the tradition of the colorful, burst-into-song classics of yesteryear. It's a handsome idea, not far removed from what Michel Hazanavicius did in 2011 with silent film (and eventual Best Picture winner) "The Artist."
Except, the staples the filmmaker has in mind ("West Side Story" and "Singin' In The Rain" above all) share some very important things in common, none of which Chazelle honors here – much less makes his own.
Firstly, strong central conflict. The biggest conflict for much of "La La Land" is that saucer-eyed Tinseltown ingénue Mia (Emma Stone) doesn't like jazz music. Although her dead-end acting career translating to life as a barista on the Warner Bros. lot poses as conflict, we never see or, more crucially, feel her struggle. Her early audition scenes are played entirely for laughs, making her distaste for jazz (much to the chagrin of eventual flame Seb) as close as the film comes to real disharmony. At least until its final act, which is undoubtedly the picture's strongest passage. More on that later.
The opening musical number serves up a preview of the empty calories to come. Its freeway-set song-and-dance is a show-off that features zero faces we see again, a sequence whose primary purpose is to establish that we're watching a musical. Then we're off to watch Seb and Mia mope around Los Angeles, occasionally bumping into each other without ever properly meeting, until they do. Then they fall madly in love, of course.
Chazelle, who wrote and directed 2014's exceptional "Whiplash," knows that his Hollywood failures-in-love storyline is built on clichés – he must know – which is why it's so exasperating that he does so little with it. Beyond a dusting of groan-worthy Prius and gluten and Kenny G jokes that seem laser-targeted at places like Bel-Air and Brentwood (i.e. places where Oscar voters live), there's shockingly little at the core of the film – but for a thirty-something white male extolling the wonders of jazz.
The second thing "La La Land" bungles: its music. There are two stand out tunes here – "City Of Stars" and "Audition (The Fools Who Dream") – both wistful ballads that underscore just how unmemorable the rest of Justin Hurwitz's compositions are. His uptempo numbers get lost in over-caffeinated camera work, his dense melodies and impossibly wordy lyrics somehow failing to move the story forward at all. Moreover, R&B star John Legend's appearance as a sell-out pop star and his subsequent song land with a thud. Legend is far and away the most talented musician in the film and he's been saddled with playing its least talented musician.
More puzzling still: an out of place cover of a-ha's "Take On Me" is a goof that seems to go on for an eternity. It's wisely been scrubbed from the Original Motion Picture Soundtrack.
Lastly, Gosling and Stone are supremely talented actors but not much for singing and dancing. Gene Kelly and Debbie Reynolds they are not, forced to make do with functional pipes and questionable hoofing skills. Their big Griffith Park tap number, set against a lavender Los Angeles sunset, arrives with simplistic choreography and, like the rest of the film, plentiful nods to much better movies. Later on, when they're dancing against a starry backdrop inside Griffith Observatory, their figures transform into silhouettes – and much better dancers. It's a bit of movie magic at its most bewildering.
That's not to say the film isn't fleetingly charming or fun to look at (many thanks to its French New Wave influences), but its visual delights hammer home the idea that "La La Land" is destined to be its best self on Broadway. Where the story can be massaged into something substantial. Where the songs – with a few new ones thrown into the mix – can better serve the characters. And where they can be performed by professional singers.
Credit where credit is due: Damien Chazelle knows how to end a movie. "Whiplash" came with a brilliant finale, and "La La Land" crescendos in much the same way. Its final twenty minutes are its best, retroactively giving purpose to much of what came before and threating to dig up honest-to-goodness thematic material that simply wasn't there previously. The climax is where Chazelle's visuals and screenplay and Hurwitz's music finally dovetail, sending viewers out on a high, thinking they've seen something better than they have.
This is the luck and the curse of "La La Land." A few elements of a great, enduring classic live within – even one or two of its own invention – seasoning its frequently flavorless melodrama with invigorating bursts of pep and color. Accordingly, it should surprise no one that Chazelle gets as defensive as he does in some of his dialogue, pre-empting the movie's critics as unsentimental sourpusses. This is a filmmaker realizing that his vanity project might contain more vanity than he's comfortable with, but charging ahead anyway.
What's he created in "La La Land" is a mirage, a self-satisfied illusion that tries and fails to sanctify a heap of classics that don't require its sanctification. Every minute spent watching it is a minute not spent watching "Singin' In The Rain," and that's reason enough to hope its writer-director has gotten puffed-up, ersatz movie musicals out of his system.
He's done better before. He'll do better again.
Rating: ★★ 1/2 out of ★★★★★ (Mediocre)
Release Date: December 9, 2016 (Limited)
Studio: Summit Entertainment (Lionsgate)
Director: Damien Chazelle
Screenwriter: Damien Chazelle
Starring: Ryan Gosling, Emma Stone
MPAA Rating: PG-13 (for some language)
perry January 5, 2017 at 6:42 pm Log in to Reply
jan 5th is my birthday, 59 years old. my wife and i went to see la la land at 4pm.
the best and happiest moment in the movie was when it said THE END.
Jacob Atar January 6, 2017 at 2:41 pm Log in to Reply
This movie is a masterpiece.
Derek January 7, 2017 at 3:08 am Log in to Reply
for me this movie was a first . . . the first I've ever walked out on. It was painful to watch these two gifted actors attempt to imitate being singers and dancers.
Disappointed January 7, 2017 at 3:28 am Log in to Reply
My friend, this film flew over your head. Reading your review, it felt like you had some sort of personal problem with Chazelle, or hell, the actors even. Let's start from the beginning of the film.
"The opening musical number serves up a preview of the empty calories to come."
The opening number, if you pay attention to the lyrics, introduces the core theme of the film right away: that dreamers move out to try and make something of themselves in LA – in 'La La Land.' Is that not exactly what happens in the movie?
Moving on. Your second point that focuses mainly on criticizing Chazelle pretty much confirms what I said earlier – you seem to have some personal issue with him. No, I don't think this film is critiquing Oscar voters. It's critiquing Los Angeles in general, my friend
Moreover, the next point seems like a flat out reach for you. The film is being praised for it's masterfully made musical numbers & cinematography that tie them together. Albeit, "Someone in the Crowd" ultimately is the definition of over-caffeinated at times, I can concede to that, it's there for a reason – have you been to the place? The majority of young people are over-caffeinated party animals. It's merely exacerbating that point and showing how much Stone's character doesn't seem to fit with the stereotype.
-To be honest, your attempt with Take On Me isn't even worth discussing. If you're going to review a film, please take your writing more seriously.-
Your last point, and this may just be an honest take as it seems your most honestly written part in this whole review, is respectable. But, I do believe Chazelle has said in interviews that he was not looking for the 'best' dancers or singers, he was looking for actors with chemistry that proved, "The best special effect possible," because the film was about two regular people who had dreams and expressed them through song and dance, not two singers & dancers who struggled to act. And that's another thing – I think the film lies to itself a bit. It claims at the forefront it's a musical, and I can also concede to this, I feel it's more of a romantic drama with musical numbers.
Now, as many have said, this film is a true masterpiece. That's the reason it resonates with nearly every viewer. I'm disappointed that critics like you are trying to make the film seem more like it's being panned when it's being fully praised. It's also disappointing that the pretentious folks out there think the film's critiques of reality are pointed at you, or in other cases, sexist and racially biased (I've read reviews that reach much more than yours, trust me.)
All in all, I respectfully ask that in the future you try to look at films like these with more of an unbiased approach – you seem to take that stance with most other your reviews, so please let it be something you consider for all of them.
Extrimeman January 17, 2017 at 12:08 pm Log in to Reply
Mark Seline January 7, 2017 at 10:38 pm Log in to Reply
Thanks for having the courage to tell it like it is or was. The singing was weak and there is no excuse for that and I finally got sick of hearing the ear candy ditty: City of Stars after the 19th or 20th time. There had to be other tunes to freshen things up, right? Also, the ending was nothing original; a real missed opportunity I think.
Bill Bissenas January 8, 2017 at 6:34 am Log in to Reply
It's a flawed movie, for sure, but certainly not deserving of only 1/2 a star.
LaLaBoo January 8, 2017 at 3:25 pm Log in to Reply
Dissapointed, you said it yourself: "I feel it's more of a romantic drama with musical numbers". I went to see a musical. As an Angelino who's been lucky enough to attend live theater frequently, this was so disappointing on both fronts. A doe eyed girl follows around her man-splaining moody jazz boyfriend. I truly felt his character was the kind of guy that would end up being emotionally abusive over time. The music was extremely forgettable (her number at the audition was a highlight) and I think the reviewer is spot on asserting that thise last 10-20 min make you walk away thinking you've seen a better film than it was. And speaking of pretentious, I have a friend who lives for movies and he saw the film at The Arclight which is made for "artsy" indie films and I saw it at an AMC: he adored it and said the audience stood up and gave the film a standing ovation! There was no clapping in my theater, no giant smiles walking out of there. I think our reviewer is saying what many people feel, not bowing down to a movie that doesn't stand up to its genre.
Moshe January 8, 2017 at 4:50 pm Log in to Reply
West Side Story & Singing in the Rain "most of all?" Huh? Hello? It's a plot ripoff from The Umbrellas of Cherbourg, including her play character "Genevieve."
Lisa January 13, 2017 at 12:47 pm Log in to Reply
Thank you for saying the words I could not find for how furious I was after leaving the theater. It's so easy for people to say it's a masterpiece. On the surface, its fun, but beneath there's not a whole lot to grab onto or take away from. I appreciate film history and would much rather watch the films this was trying to capture, than to sit through this terrible chick flick with little chemistry that I'm expected to appreciate because I live in LA. What a joke. I should've lowered my standards greatly and maybe it would've been worth it.
Shannon January 14, 2017 at 8:28 am Log in to Reply
I have seen reviews that compare it to the great musicals of the past, such as Singing in the Rain or the later day Grease. No way. I agree with the critic above. The most lackluster dance scenes, unmemorable songs, and two stars who are mediocre at best at singing and dancing. Ryan Gosling? So over rated as an actor, it boggles my mind. I feel like I am watching wood in every movie he does,
Annabelle January 15, 2017 at 11:30 am Log in to Reply
This movie was totally overrated. Also, give me a happy ending at least, where the two leads live happily ever after or at least are still together at the end. A downer ending on top of the mediocre singing and dancing.
Hazyjane January 17, 2017 at 7:01 pm Log in to Reply
Finally a review that doesn't make me feel like a heartless freak. And I thought it was very fair to the director/writer who I also admire for his better work. The music and photography were directing me to care, but a lazy script made Mia an intensely irritating character. I lost interest long before the very pretty but empty ending.
David Fortin January 20, 2017 at 7:56 pm Log in to Reply
Thank you for calling out this Sacred Cow.
It was not a bad movie, but took itself so seriously it had me rolling my eyeballs throughout its self-indulgent duration.
I felt guilty in the company of my friend who happened to be enthralled. It would have been charming if hadn't sprawled so.
Bottom line – I didn't fall in love with the protagonists and they overstayed their welcome.
Tom February 1, 2017 at 1:52 pm Log in to Reply
Thsnks so much for the review, I'd heard great things & was thinking maybe I'd seen wrong movie. My only disagreement was the ending which I thought was far & away the worst part of the movie (spoiler alert from here on). After setting its stall out firmly in feel-good territory, to have the movie segue to such unexplainesd ultimate personal success but failure of their relationship with no more than a 'what do you know it didn't turn out how you expected, gee life's like that.' half smile between them, for me that was the last straw!


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Friday, September 18, 7:30 p.m.
Baghdad to Bach is our second spoken word/music event featuring acclaimed musician and composer Peter Blanchette. Last September's sold-out concert featured short, recorded SKYPE conversations with ICAE's long-time partner Dr. Mazin Al-Jadiry from Children's Welfare Teaching Hospital in Medical City Baghdad. This year's format will be similar, music with spoken word segments scattered throughout, but we will have Dr. Mazin LIVE at Helen Hills Hills Chapel in Northampton offering insights and poetry from Iraq.
This group performed at our exhibit/symposium Having the Life of Our Times at the Northampton Center for the arts in 2011. Each student chose a mural and composed a composition -- a "sounding".
And, we will have a few words from Taleen Dilanyan, an Iraqi student entering her senior year at Smith College.
There will be a reception afterwards in the Bodman Lounge.


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SKY. ARMIDEL
In the morning, September the second, we found ourselves on the edge of the sea. Having procured a boat, we dismissed our Highlanders, whom I would recommend to the service of any future travellers, and were ferried over to the Isle of Sky. We landed at Armidel, where we were met on the sands by Sir Alexander Macdonald, who was at that time there with his lady, preparing to leave the island and reside at Edinburgh.
Armidel is a neat house, built where the Macdonalds had once a seat, which was burnt in the commotions that followed the Revolution. The walled orchard, which belonged to the former house, still remains. It is well shaded by tall ash trees, of a species, as Mr. Janes the fossilist informed me, uncommonly valuable. This plantation is very properly mentioned by Dr. Campbell, in his new account of the state of Britain, and deserves attention; because it proves that the present nakedness of the Hebrides is not wholly the fault of Nature.
As we sat at Sir Alexander's table, we were entertained, according to the ancient usage of the North, with the melody of the bagpipe. Everything in those countries has its history. As the bagpiper was playing, an elderly Gentleman informed us, that in some remote time, the Macdonalds of Glengary having been injured, or offended by the inhabitants of Culloden, and resolving to have justice or vengeance, came to Culloden on a Sunday, where finding their enemies at worship, they shut them up in the church, which they set on fire; and this, said he, is the tune that the piper played while they were burning.
Narrations like this, however uncertain, deserve the notice of the traveller, because they are the only records of a nation that has no historians, and afford the most genuine representation of the life and character of the ancient Highlanders.
Under the denomination of Highlander are comprehended in Scotland all that now speak the Erse language, or retain the primitive manners, whether they live among the mountains or in the islands; and in that sense I use the name, when there is not some apparent reason for making a distinction.
In Sky I first observed the use of Brogues, a kind of artless shoes, stitched with thongs so loosely, that though they defend the foot from stones, they do not exclude water. Brogues were formerly made of raw hides, with the hair inwards, and such are perhaps still used in rude and remote parts; but they are said not to last above two days. Where life is somewhat improved, they are now made of leather tanned with oak bark, as in other places, or with the bark of birch, or roots of tormentil, a substance recommended in defect of bark, about forty years ago, to the Irish tanners, by one to whom the parliament of that kingdom voted a reward. The leather of Sky is not completely penetrated by vegetable matter, and therefore cannot be very durable.
My inquiries about brogues, gave me an early specimen of Highland information. One day I was told, that to make brogues was a domestick art, which every man practised for himself, and that a pair of brogues was the work of an hour. I supposed that the husband made brogues as the wife made an apron, till next day it was told me, that a brogue-maker was a trade, and that a pair would cost half a crown. It will easily occur that these representations may both be true, and that, in some places, men may buy them, and in others, make them for themselves; but I had both the accounts in the same house within two days.
Many of my subsequent inquiries upon more interesting topicks ended in the like uncertainty. He that travels in the Highlands may easily saturate his soul with intelligence, if he will acquiesce in the first account. The Highlander gives to every question an answer so prompt and peremptory, that skepticism itself is dared into silence, and the mind sinks before the bold reporter in unresisting credulity; but, if a second question be ventured, it breaks the enchantment; for it is immediately discovered, that what was told so confidently was told at hazard, and that such fearlessness of assertion was either the sport of negligence, or the refuge of ignorance.
If individuals are thus at variance with themselves, it can be no wonder that the accounts of different men are contradictory. The traditions of an ignorant and savage people have been for ages negligently heard, and unskilfully related. Distant events must have been mingled together, and the actions of one man given to another. These, however, are deficiencies in story, for which no man is now to be censured. It were enough, if what there is yet opportunity of examining were accurately inspected, and justly represented; but such is the laxity of Highland conversation, that the inquirer is kept in continual suspense, and by a kind of intellectual retrogradation, knows less as he hears more.
In the islands the plaid is rarely worn. The law by which the Highlanders have been obliged to change the form of their dress, has, in all the places that we have visited, been universally obeyed. I have seen only one gentleman completely clothed in the ancient habit, and by him it was worn only occasionally and wantonly. The common people do not think themselves under any legal necessity of having coats; for they say that the law against plaids was made by Lord Hardwicke, and was in force only for his life: but the same poverty that made it then difficult for them to change their clothing, hinders them now from changing it again.
The fillibeg, or lower garment, is still very common, and the bonnet almost universal; but their attire is such as produces, in a sufficient degree, the effect intended by the law, of abolishing the dissimilitude of appearance between the Highlanders and the other inhabitants of Britain; and, if dress be supposed to have much influence, facilitates their coalition with their fellow- subjects.
What we have long used we naturally like, and therefore the Highlanders were unwilling to lay aside their plaid, which yet to an unprejudiced spectator must appear an incommodious and cumbersome dress; for hanging loose upon the body, it must flutter in a quick motion, or require one of the hands to keep it close. The Romans always laid aside the gown when they had anything to do. It was a dress so unsuitable to war, that the same word which signified a gown signified peace. The chief use of a plaid seems to be this, that they could commodiously wrap themselves in it, when they were obliged to sleep without a better cover.
In our passage from Scotland to Sky, we were wet for the first time with a shower. This was the beginning of the Highland winter, after which we were told that a succession of three dry days was not to be expected for many months. The winter of the Hebrides consists of little more than rain and wind. As they are surrounded by an ocean never frozen, the blasts that come to them over the water are too much softened to have the power of congelation. The salt loughs, or inlets of the sea, which shoot very far into the island, never have any ice upon them, and the pools of fresh water will never bear the walker. The snow that sometimes falls, is soon dissolved by the air, or the rain.
This is not the description of a cruel climate, yet the dark months are here a time of great distress; because the summer can do little more than feed itself, and winter comes with its cold and its scarcity upon families very slenderly provided.
‹ GLENELG up CORIATACHAN IN SKY ›


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The Hoff has signed on for the forthcoming Baywatch flick.
This week, Dwayne Johnson revealed that original Baywatch star David Hasselhoff will be a part of the highly awaited film.
Posted on March 4, 2016, in ENTERTAINMENT NEWS. Bookmark the permalink.	Leave a comment.


text:
Jason Stuart makes it into the middle of the Midwest
by Jerry Nunn, Windy City Times
Actor Jason Stuart has over 35 years of steady work on film and television as a character actor. He came out of the closet as gay early on in his career and the parts only improved. Who else could play a better hairstylist in Kindergarten Cop? More movie appearances followed with Vegas Vacation, Drop Dead Gorgeous and Tangerine. Stuart was nominated for a Gay International Film Award for Best Supporting Actor in the indie film Coffee Date.
Television credits range from Murder, She Wrote to Will & Grace.
With Stand-up, he's released a comedy album titled Jason Stuart: Gay Comedy Without a Dress and a DVD of Jason Stuart: Making It to the Middle for Here!
His latest project, the short film Hank, shows at the 37th Chicago LGBTQ+ International Film Festival and he plans to fly into town for the opening night's festivities. Hank tells the story of Hank and Tommy who have been married for 15 years. They decide to open their relationship and adventures ensue…
Windy City Times: Are you calling from LA?
Jason Stuart: Yes. I live here and in Palm Springs.
WCT: Everyone is moving to Palm Springs. I need to buy a place there!
JS: I think you do. It is less chaotic.
WCT: When did you come out of the closet after being a performer?
JS: In 1993, on The Geraldo Rivera Show. If you go on my website JasonStuart.com under videos, you can see a video of it there. It was a big decision at the time and it changed my life. It was before Ellen DeGeneres or Ricky Martin.
Being in the closet was like standing on the shoes, behind the leather jacket, with hat boxes in the way. Every once in a while, someone would open the door, turn on the light, shine it in my eyes, grab something, take it out and then slam the door. That's how I made all my decisions and who I was. I eventually peaked my head out.
WCT: Was Hank filmed in LA?
JS: Yes, it was. I play a very sweet, kind man, who has been in a long term relationship. My husband in the movie wants the relationship to be open and I don't. The film has me getting the best reviews since The Birth of a Nation, three years ago. That has been gratifying. This film has taken on a life of its own.
WCT: Is it more rewarding to do the serious roles over the funny ones?
JS: I don't think of it that way, because the process is the same for me as an actor. I want to be good. It's the same whether it's a big budget or small budget picture, comedy or drama. I do the same homework. I try to create the best performance that I can do. I love the work honestly.
Hank I didn't audition for. The casting director saw me in Tangerine playing a night club manager. He saw me for my work and that's my goal. I don't want to be seen as a gay, comedian or a character actor. I want to be seen as a person with the ability to do different things.
WCT: Talk about Shut Up, I'm Talking: Coming Out in Hollywood and Making it to the Middle.
JS: It was going to be called I'm Not Barbra Streisand, but she was going to have a book out and the publisher was worried she would sue us. I thought that would be the greatest thing that ever happened. I was telling my mom on the phone about it and interrupted her. She said, "Shut up, I'm talking" and I knew that was the name of the book.
WCT: Have you met Barbra Streisand?
JS: I met her at the Grammy Awards when I was a kid. I was an actor's assistant there. Streisand was nominated for "You Don't Bring Me Flowers" with Neil Diamond. I was assigned to Dionne Warwick, but when she was rehearsing Barbra walked over to me and wanted to look at my script. I shook her hand and told her how great she was. She then asked for her hand back. I forgot I was holding her hand, because I was so nervous!
WCT: You have a movie called Immortal that's coming out?
JS: Yes. We just got into a big film festival. I saw they were casting on a website so I submitted myself. He loved my demo reel and three days later I did the film. My scene is five minutes in a feature film. I play a private investigator, who deals in spyware. It's four separate stories about people who just can't die.
WCT: What else are you working on?
JS: I have a new series that I just finished called Smothered. It's about two older gay men who have been in a 30 year relationship and hate each other, but can't afford to get divorced!
See Hank with Stuart on Saturday, Sept. 21 at 5:30 p.m. at Landmark's Century Centre Cinema, 2828 N. Clark St., as part of the Behind Closed Doors shorts program. For a complete schedule of Reeling Chicago presentations visit ReelingFilmFestival.org .
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text:
Griffin Poetry Prize - $65,000 Cash Prize - No Entry Fee #seanocarolan #writing #Poetry #Competitions #prizes #Canada #International #poems
Griffin Poetry Prize - $65,000 Cash Prize
The Griffin Trust For Excellencesponsors the annual Griffin Poetry Prize, known as Canada's biggest award for an original compilation of poetry (first release only) published in English.
To excite the public's creativity and boost recognition of how poetry plays a critical role in our social and artistic life, the Griffin Poetry Prize grants two poetry prizes of $65,000 each and an extra $10,000 to each candidate who reads at the yearly Shortlist Readings in Toronto (Canada).
Griffin Trust grants one prize to a living poet who resides in Canada, and a second international prize to a living poet who resides in any country. Both prizes can incorporate translated collections. The publisher must submit the poet's book of poetry.
The Prize only accepts poetry written in English, and it must be no less than 48 pages long. The publisher can submit multiple works, but each submission must be authored by one poet.
Deadline: December 31, 2014| Apply to poetry prize
Labels: Book, contests, opportunities, Poet, poetry, Poetry Competitions, Writing


This will be the last of the XC8 series for PIC18. Next will be bunch of projects (hopefully I'll get the time). ADC is the last topic. There are too many stuffs, but the point is read the datasheet. Datasheet tells you everything and my previous posts will give you an idea of linking datasheet with peripheral library and use in your application.
ADC in PIC18's are of 10 bit resolution. Way too good for most of our needs. Before complaining about ADC not working, are you sure you read every word of the datasheet and understood it? ADC's have a lot of configuration. Going for high sampling rate is not always good. You got to set the acquisition time for your ADC. Lot of people make mistake with the settings and sampling rate of the ADC. For my tutorial I'll be using a potentiometer. Not a big deal with the sampling rate. But still will give you an idea of setting the interrupts and other features.
Note : All the above list may not be applicable to all controllers. Please read the datasheet.
In lot of places you would have seen polling method. So I wont be showing that. In our method the ADC will trigger an interrupt after conversion is complete.
How did I know it takes 3 arguments? according to library there are also OpenADC function with only 2 arguments? Well, read the datasheet and select your OpenADC with the available registers.
My input is a potentiometer, so not a big deal with the settings. Select your TAD according to your requirement.
ei();       //remember the master switch for interrupt?
Thanks for the quick reply! However, I am using the PIC18F23K20, and I do not believe that the Rx pin is shared with the ADC. However, I still set the ANSEL equal to 0x00 (ANSELC is not predefined in the xc8 compiler), and I was still unable to see a change on PuTTY.
You are right.. Its not been shared.
Try working with one character echo. Then move your way up. Also try to use microchip forums if you can. They are pretty quick. But you might have to post your code in there if you need a better reply.
Alex :@singularengineer Thanks for replying! Yes, that is precisely what I did and I have fixed the problem. I am now trying to configure UART to work with my project. Can you perhaps provide information on the serial monitor you are using? Maybe provide a link to it? I am currently using the arduino integrated monitor, but I am getting strange ASCII results.
So, it turns out I needed to increase the baud rate on the serial monitor to 19200 so that I didn't get garbled data (I do not know why since the baud rate is set to 9600 in the code). I have also transferred to PuTTY instead of arduino. Now, I am trying to user your Rx interrupt code that you posted in your UART tutorial. While testing it, I found that when I type something in and press enter, the PIC does not seem to transmit anything back to the PC as the PC monitor does not echo what I typed. Can you provide any help or an explanation? Thanks.
P.S. I know that this is in the wrong section of your website, but since I already made a post here, I might as well continue… sorry for any inconveniences.
For most PIC18's the UART RX pin is shared with ADC. So you may have to make your RX it into a Digital I/O. Use ANSELC = 0x00; to convert all pins in PORTC to digital. Also try one character echo and then move your way up. Remember ANSELC=0x00; will make all pins in port C to be I/O. If you had and ADC working on port C, they will stop working after its made into digital.
Increasing the baud rate to 19200 on the serial monitor fixed the result to what I wanted. However, I do not understand as in the code it is set to 9600… Any idea why?
Thanks for replying! Yes, that is precisely what I did and I have fixed the problem. I am now trying to configure UART to work with my project. Can you perhaps provide information on the serial monitor you are using? Maybe provide a link to it? I am currently using the arduino integrated monitor, but I am getting strange ASCII results.
Hi, I do not know if you still check the comments on this website, but I thought I would ask my question. I would like to read multiple channels of the ADC at 1kHz or so. I was attempting to read the ADC with a timer0 interrupt running at 1kHz, but that does not seem to work. I would use the ADC interrupt, but I could not easily configure it to read in the frequency I required. Do you have any suggestions? I can post my code if necessary.
Sorry for the delayed response. Yes, I still check the comments. How many channels do you like to read? What is the maximum ADC speed? and What is the Tad (time to acquire) per channel? Also, how many ADC's do you have in the controller you are using? If possible try to use all ADC's to effectively give enough time per channel to acquire your signal properly.
I would highly recommend you using the microchip's forum since they are very quick to help you. I wont be active until April.
According to PIC18F45K50 datasheet table 29-23 TAD is 1uS and aquisition time is 1.4uS which is the minimum values. So if we are running at 8Mhz FOSC then minimum of ADC_FOSC_8 for adc clock and ADC_2_TAD can be used. Is it correct configuration or am I making any mistake here?
I solved it 🙂 thank you for all!
Thank you anywhere, I'll try to change PIC and we will see… the thing that drives me crazy is that in debugging mode it works! It's like when you hear a noise from your car and when you go to the mechanic to check it the noise stops! If someone has any kind of help I'll be very grateful to him! Thanks for all and have a nice weekend!
Is there a way you can zip it and upload to a ftp server and put the link here?
Sorry can't help you anymore, this is all i knoe for now. Hopefully you figure out your issue.
Try this, very easy, no interrupts, try to get your ADC to work first, I haven't tried this with the PIC18F46K22 yet. Hope this helps.
Thanks for the quick snippet.
syntax is correct and the problem is not in if clauses. I'm really sorry for this multiposts. Thank you again for put up with me!
I got some updates on my problem. I'm going crazy on this but I'll come out! I'm debugging it with many changes and tryes… I noticed that OpenADC(…) is not configuring it as I would but if I set all registers associated with ADC (ADCON0, ADCON1, ADCON2, ANSEL) it "works": I put the double quotes on works because it works only if I toggle a breakpoint in debugging mode, but in normal funciton it doesn't works! It seems that ConvertADC() doesn't restart conversion!
then I see ADCval and ADRES(high and low) that changes values from time to time but if I load the project on MCU it doesn't do nothing! Anyone got any idea on why this could happen? Because I don't. Anyway if you can help me, I will be really gratefull to you!
@Carl Hi! Normally it's in C:\Program Files\Microchip\xc8\v1.30\docs or something like. It's a pdf with all (or almost all) supported chips. Look in that folder and if you don't find it try to google it! Sorry for approximative informations but I dont have my pc now!
Great post, I only have one question. About 1/5 in your post you mention about "peripheral library" and the function OpenADC. How do I know which OpenADC function to select and its configuration by reading the datasheet.
From the data sheet I get what would be required to do just by setting the ADCON registers but not sure how to translate different PIC to different OpenADC.
Just an example of this is PIC18f4520 & PIC18f46k22 have different ADCON registers (mostly ADCON1 is different), would I configure OpenADC the same?
and there's a change, but it's only that now only the first led (RC0 pin) is on (like adc is reading a value less than 256.
I'm a little bit perplexed, because on the peripherial library, looking to my pic adc's table, at OpenADC function there are some things that I'm not understanding, for example why ADC's channels starts from CH3 and goes to CH11? Datasheet says that there are AN0-11! Am I missing something, like using wrong channel or settings? thank you again!
There are some things to be noted in your code. Check your if conditions. You are using '=' instead of '=='. ADC is 10 bit resolution. I dont know what you are doing with 4 bits/LED's. Please use microchip forums for a quick reply (and may be even debug your code).
I stumbled into this site and found your clear explanations and well-documented code. I'm just making the transition to XC8 and this was very helpful. Thanks.
Thanks very much for the tutorials. Much appreciated effort. God Bless.
Thank you so much for these tutorials! Given that Microchip haven't published a whole lot of tutorials or guides on the subject, or 3rd party books on XC8, your small tutorials on each section have helped me greatly so far!


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